John Wenlock-Smith Interviews Magic Pie

Photo by Jørn Mortensen

Our John chats to Kim Stenberg & Eirikur Hauksson ahead of the release of Magic Pie’s latest album, ‘Maestro’.

JWS: Magic Pie are somewhat new to me as I’ve not really heard much by you before, how would you describe your music?

Kim : I would describe Magic Pie as a mix between progressive rock and classic rock, with some tendencies towards prog-metal. With a focus on good melodies, plenty of harmonies, and the big chorus. With some instrumental passages along the way – so we can have som fun as musicians 😉

JWS: I hear lots of classic band influences in your sound, like Deep Purple and other 70’s bands I like, is this deliberate or accidental?

Kim : Mostly accidental I would say. I didn’t have any connection to progressive rock growing up in the 80´s but it’s fair to say that I couldn’t escape the influence from my parents with bands like Led Zeppelin, Uriah Heep, Kansas, Deep Purple, Pink Floyd, The Beatles and so on. After I heard ‘Space Revolver’ with The Flower Kings and ‘SMPT:e’ with Transatlantic in 2000 (or something) I started doing a little research and took a deep dive into the 70´s prog scene. I discovered a lot of great music, but found myself enjoying the more hard-rock oriented bands the most.

I’m not sure why our music has that 70´’s feel, but I much prefer the production from the 70’s and the overall vibe. Not so polished, slick and perfect as todays productions. There is also something special about the vocal melodies from the 70´’s – hard to describe, but it just speaks top me in a different way. Since I’m also the producer I tend to gravitate to what I like. There was never a deliberate thought to make it sound 70´s.

With Magic Pie, the goal is to bring all my influences into a mix of its own. The big chorus, the recklessness from bands like Deep Purple, the vocal harmonies from Queen and City Boy, the progressive metal with influences from Dream Theater, and since I’m first and foremost a guitarist, a tiny bit of fusion and extended guitar solos to top it off. Mix all that with the structure and epic songwriting from bands like The Flower Kings, Genesis, Neal Morse etc and you have the essence of Magic Pie.

JWS: You seem to like long multi part tracks, why is this ?

Kim : I feel like long epic tracks have a little more staying power. I really like to think ofeach track as a little short story in itself. I need a beginning and an end, with twists and turns along the way to fully fulfill the essence of what I try to convey. As a composer I really enjoy the long song format. There is so much more you can do when not being stuck with a time limit. We don’t make any money on our music, at least we can have some fun with it.It really doesn’t matter if the track is 4 minutes or 30 minutes – I just think its easier to tell the full story when I can take my time and build the song like it’s supposed to be. I never write long tracks, just for the sake of being long. Most of our epics have been shortened to not overstay it’s welcome. And btw; writing short songs is difficult! 😉

JWS: What are the main themes to songs like King For A Day, Opus Imperfectus and A Life’s Work ?

Eirikur : I think it is safe to say that the main theme to those three epics is life itself with it’s curves and bends and ups and downs.

A Life’s Work is a part of ‘Suffering Joy’, our album number 3, and the first one for me as the band’s main songwriter and lead voice. Here you get to follow this specific character from his birth to his death. He was a welcomed child, with normal and happy up growing. But he never liked school and really had but one wish in life, – and that was to get rich. He loved and he was loved, but threw all that away determined to reach the top. All the other songs on the album can connect to the Epic, so it is in a way a theme album, even though it never was quite intended as such. Even the album cover reveals our guy.

“What a joy on this day of May, – a child so precious, bright and fair. A welcomed boy, born on “Mother’s day”. The smell of springing in the air”.

King For A Day: I had written a pop-song titled “King for a day”. Not meant for myself, but it never made it up from the drawer either. When I got the demo from Kim, I started using parts and pieces from that song and I just spun it from there. Well into my work I realized that I, – unwillingly, was under some influence from that great-great movie “The Fisher King”, and I wondered if I should dare to take this any further. Luckily I managed to direct this into a story of its own…and yes, – it´’s a pretty sad one. To cut a long storyshort;

“Shots rang out, the Earth stood still…and all that I loved took a second to kill. I woke up to collide with reality’s oncoming train, just a simple man, voluntarily going insane”.

Opus Imperfectus: When I heard the intro I immediately became a time traveler and woke up in the time and age of the old masters, like Beethoven and Mozart. I created this young boy who was the assistant of a great composer, and he tells his story. Our “Maestro” composed his greatest symphony – ever. But he was not pleased, because he felt he still missed that final-chord. After the premiere of this masterpiece he disappeared to never be seen or heard of again.

“Opus Imperfectus would be his claim to fame. Although in his heart, he never accepted it would be the one to always bear his name”.

JWS: What groups have influenced you the most?

Kim : Oh, it’s so much. Growing up it was the music my parents listened to (Led Zeppelin, The Beatles, Deep Purple and so on). In the 80´’s it was bands like Kiss, TNT, Bon Jovi – all the ‘hair-metal’ bands. And of course guitar heroes like Steve Vai, Joe Satriani and Paul Gilbert. Before I started Magic Pie in 2001 I was a big Dream Theater fan and was more into the prog-metal scene. As mentioned earlier, that all changed when I heard Transatlantic and The Flower Kings.

Transatlantic led me to Neal Morse and my view of songwriting changed forever. I’m still a massive Neal Morse fan, but with the overwhelming onslaught of new music released everyday it’s impossible not being inspired by all kind of music. Other honorable mentions would be City Boy, ACT, Queen, David Bowie and all kinds of jazz-rock and fusion music – with Guthrie Govan being my biggest guitar hero at the moment.

JWS: Give me a brief history of the band please.

Kim : I started the band in Moss, Norway in 2001. Originally just for fun; to let out some steam outside the usual cover bands. We started out playing covers, but it didn’t take long before I wanted to try writing some songs on my own. We’ve had some line-up changes throughout the years, and I’m actually the only original member left. The current line-up consists of Eirikur Hauksson (Lead vocals), Lars Petter Holstad (Bass, vocals), Erling Henanger (keyboards, vocals), Martin Utby (Drums) and myself, Kim Stenberg (guitars, vocals). Only Lars Petter and myself are the remaining members from the first album.

We have released ‘Motions of Desire’ (2005), ‘Circus of Life’ (2007), ‘The Suffering Joy’ (2011), ‘King For A Day’ (2015) and ‘Fragments of the 5th Element’ (2019). The new album ‘Maestro’ will be released in just a few weeks (16/5/2025).

JWS: Are you influenced by any literature genre at all?

Eirikur : I am a fan of horror, be it books or films, – but no – I am not directly under the influence of this genre. What I guess influences me more than anything is my own life…and in particular my dreams and fantasies. When connecting with these thoughts, – I usually know when and why they begin, but I never know where they will take me…and most importantly how my stories will end.

JWS: I need to check out your back catalogue which do you especially recommend I hear?

Kim : I would start with ‘King For A Day’. This is a time when all worked out great in the band. Our spirits were high and we felt very energized. After this album we/I had some tragic events with some serious health issues and life altering family events happening – this delayed all progress and my songwriting was affected since I wasn’t quite present when writing. ‘King For A Day’ is my favorite epic and I still wouldn’t change a thing. That’s not always the case 😉

JWS: Thank you for you answers.

Kim: Thank you for the interest in our little Norwegian prog ensemble!

‘Maestro’ will be released on 16/5/25 and can be pre-ordered here:

Magic Pie

Review – Solstice Live at the Dome 20/4/25 – by John Wenlock-Smith

Tufnell Park’s Dome is a new venue to me, if not to Londoners who like progressive rock music. It is very conveniently located across the road from Tufnell Park underground station and adjacent  to the Boston Arms public house. Well, last night it hosted quite a remarkable, spectacular and effusive end of tour show and celebration for Solstice, who were concluding their current tour in support of their hugely impressive and exuberant ‘Clann’ album, you can read my Progradar review here:

Review – Solstice – Clann – by John Wenlock-Smith

Solstice had previously hit a lot of familiar points like The 1865 in Southampton and their own local Caulfield Arms in Milton Keynes, amongst others. The Dome itself is very straightforward in layout with a bar to the left and a big open floor space with a decent sized, raised, stage and a small seating area to the right. It was about two thirds full, with about 150 people or more in attendance, which isn’t a bad size for any band. I expect on the strength of this new album and tour that future shows will garner a far bigger audience as the band, in this version, are most definitely one that are going places now, promising a most rewarding experience for any prog aficionado. Many of the crowd are regular supporters of the band, although a swift poll check from Jess revealed a healthy number of new attendees, who are probably converts now after this strong showing tonight

Ebony Buckle opened the show in a more pared back incarnation but, even in this stripped-down version, their songs show their strength. Especially well received were I Think I Just Saved My Own Life, Russian Dolls and 900 Years, they all stood out for me, as did the final song Disco Lasers. A swift changeover led us into a very celebratory show from Solstice who have a stage full of artists, including violinist Jenny Newman and Andy Glass, who leads the band being their only original member from the 1980’s and who has led the band into this very new and exciting phase of their career.

Along with bassist Robin Phillips, drummer Pete Hemsley and keyboard player Steven McDaniel, they are complimented by three excellent and individual vocalists in Jess Holland, Ebony Buckle and Dyane Crutcher who together weave a beautiful magic in tandem with the rest of the band. At times I was reminded of the mighty Santana, in that the music seemed to flow like a river of music, not only in  discernible points of reference in tracks that I recognised, but also in the onstage dynamics and interplay between Andy, Jenny, and the various vocalists, each of whom were really going for it.

I also loved the sheer joyful exuberance that was on show tonight. There were many highpoints such as the excellent guitar tones displayed during Mount Ephraim where Andy really laid down some seriously strong guitar lines. In truth though, there was nary a poor number played with lots of older tracks receiving a very positive reception from the very vocal crowd. There was even much prog dancing! Heaven forbid don’t tell Charlie Bramald as he’d be appalled by such joyful actions! Andy also sought to teach us prog clapping at some point, which was a bit of fun for everyone.

Overall it was a Triumphant performance by the band, as always with Solstice and they were truly stunned by such a positive reaction to their wonderful music and presence, making for a very special and important evening for both the faithful Clann and also for the band themselves. Special mention must be made for Chris Parkins of London Prog gigs who hosted this event so well and for the sound guys and merchandise staff who worked tirelessly on the band’s behalf. Also to Solstice themselves for being so accessible to their fans, they were actually somewhat overwhelmed by their response, being very gracious in both their time and willingness to sign CDs as memento’s and also to chat to everyone.

It was a most excellent evening all told, which put the matter of my arduous journey back North to the back of my mind, being both an expensive and also challenging one, with the added yet unexpected bonus of  something of an adventure as I traversed the home counties in the early hours.

Review – Brendan Perkins – Stories from the Old Church Lane – by John Wenlock-Smith

Unbelievably this is Brendan Perkins’ twenty-eighth solo release since 2008 when he decided to follow his musical aspirations full time. ‘Stories from the Old Church Lane’ follows from last year’s wonderful ‘Favourite Places’ album which he actually released on CD and that I gave a very positive review to for this very site. You can find that Review here:

https://www.progradar.org/index.php/2024/08/14/review-brendan-perkins-favourite-places-by-john-wenlock-smith/

This album is in a similar vein,  although this time it concentrates on the lives of the folks who live in the area of a local church. Whether this us an imaginary church is not entirely clear but the album seems to draw upon personal experiences that Brendan has had or encountered over the years since he moved to a rural location. Either way, the tales he has conjured up are certainly imaginative and told with warmth and a positive attitude that translates into the music the album conveys. The album is entirely self-composed and performed by Brendan although his partner Helen Flunder features on vocals on the track Another Eveningtime. The music flirts around the edges of progressive rock but is actually very pastoral in tone and would a definitely appeal to fans who like that style of prog, as offered by Big Big Train and the like as there is a strong storytelling element to these songs.

The albums begins with the track Another Eveningtime which opens with a piercing guitar line underpinned by synths and assorted sonic embellishments that fuse together to make a pleasing wall of sound. To this is added Brendan’s trusty Rickenbacker bass providing a solid bottom end before the vocals start, speaking of settling down and building a new life in the shadow of the church. It’s a very positive song with great guitar lines and a fine backing. Olivia Ruth is about a lady who collects things, it is also a song about memories and how they can affect us and how we look at a life. The words are very descriptive as they are poured out and the song is full of warmth rather than criticism. It is about accepting and welcoming different approaches to life and is enlivened by some great guitar and bass interplay in the final part of the track. Amelia’s Wedding is a song about expectations being realised, in this instance the wedding of a daughter to a man and how they begin a new life together, with all the opportunities that affords. This is a fairly bass driven track with lots of ethereal keyboards in the background, creating an interesting sound palette. It is another very warm sounding piece with lots of hope and positivity towards the happy couple on the very special day of their wedded union.

Bram’s Return (from Metro Fair) opens with a fine acoustic guitar line, the song is about returning from the big city to a more relaxed and less stressful way of living as the author realises that the big city life he has lived wasn’t really for him. Instead, he finds peace and contentment in a new place and opens a new chapter of his life. There is a distinct touch of Mark Knopfler in the guitar playing on this track and the use of space in the arrangements and sound really adds something special. The extended length also gives room for lots of free expression. This is a song extolling that the best place to be is with the one you love, which is of course a most excellent thing to desire. Ned And Mary is another gentle song talking of a couple’s evolving life story through different times, but all underpinned by the love they share and celebrate in Old Church Lane. It’s a lovely song with more superb guitar lines woven through it. This is much shorter track but still a good one, if not a tad contemplative in tone.

The final track is Summer’s End which celebrates the harvest and the festival that it brings, exemplified here by the annual dance which really beings the village together in gratitude and celebration. The description of the dance is very warm and speaks of a shared experience that is welcomed by all the inhabitants of the village. It is a very well composed track and a strong close to the release.

‘Stories from the Old Church Lane’ is a rather uplifting and life affirming release from Brendan Perkins. Certainly there is a lot of excellent material and songs here and I would urge you to have a listen for yourself, you may very well be rather surprised and taken with it.

Released 5th April, 2025

Order from bandcamp here:

https://brendanperkins.bandcamp.com/album/stories-from-the-old-church-lane

Review – Red Bazar – Blood Moon – by John Wenlock-Smith

Red Bazar are the band that Peter Jones uses when playing band shows as Tiger Moth Tales, in return for which he adds keyboards and vocals to their songs and elevating them in the process with his excellent voice and his deft keyboards. It’s a symbiotic relationship as both parties gain significantly from it’s existence.

‘Blood Moon’ carries on from 2022’s excellent ‘Inverted Reality’ and has eight tracks of fine, if slightly heavier, material from the band.

The album begins with Fall On Your Own Sword, which is a strong opener driven  by the sturdy bottom end bass of Mick Wilson, who has since decided to move on with his place being taken by Roman Dubrovsky. The track is an epic one in style with a storming guitar riff, strong Bass and Peter’s always impressive vocals. It has a harder edge to its sound interspersed with lighter sections and parts. I really like this song and it is a strong opening track. When The World Burns is a softer piece which centres on an acoustic guitar motif and subtle keyboard textures. It’s an emotion laden song with a fine guitar solo from Andy Wilson. High Velocity is a brooding instrumental with driving bass, surging guitar parts and strong synth lines all conspiring together to make a really urgent and driven track. There’s a fine keyboard solo from Peter before the track returns to the main riff and melody, gathering intensity in the process. This is a standout for me and I loved it when it was released online last year as a taster for the full album. Start Again opens gently with an acoustic guitar and delicate keyboard flourishes. The song is about a relationship and the opportunity to redress the balance by starting Again. It’s a tender track of impassioned vocals and mood and it captures the dynamic of the relationship fully in a thoughtful and yet sensitive manner. This song impresses greatly with it strong melody and performance.

Baron’s Eyes is based on the Sherlock Holmes story ‘The Illustrious Client’ and is another interesting track talking about revenge for wrongs done to a client by the Baron. There are great synth lines to this bristling track. Fighting Force is another instrumental tour-de-force with a strong guitar line and  a very upfront bass part, alongside more excellent keyboard textures from Pete. Penultimate track Over is awash with superb guitar playing and swirling synths. It’s a brooding piece of music that builds in drama and dynamism. A powerful and engaging song that could be straight from one of the great 1990’s hard rock albums. The final track of the album is title track Blood Moon, another very strong track. Although I have to confess that, without the lyrics, I don’t really know what the song is trying to convey. I believe a blood moon is significant on several levels, including the end of the world. However on this occasion, you’ll just have to enjoy the song like I did and decipher its meaning for yourself!

So, in summary, another strong album from Red Bazar which I must recommended to all especially if, like me, you are a fan of Peter’s immense talents which are well showcased here alongside the other highly skilled members of the band.

Released 28th March, 2025.

Order direct from the band here:

https://www.redbazar.co.uk/shop

Review – Solstice – Clann – by John Wenlock-Smith

Solstice are currently on a noticeably upward trajectory and this new album from the veteran proggers certainly agrees with that statement as it isa most uplifting and positive album of some very fine music indeed.

The album has a mere six tracks (if you include the bonus), all around the 5 or 6 minute duration, along which there is a near fourteen minute epic in Twin Peaks.

The overall impression is that Solstice have found a rich vein of inspiration that they are digging deep into. In this instance that vein is a very uplifting and joyful one, maybe it’s a response to the current tough times in which the world finds itself with  global madness on the geopolitical stages and an almost demented leadership that seems to be looking after the rich and ignoring everyday folks. This promotes division and accelerates discord while throwing out all the mechanisms that help govern. Onto this disquieting stage steps Solstice and this album that instead of moaning offers the listener a very uplifting escape from all that misery, instead offering some really positive sounds of joy that extoll gratitude and promote an air off togetherness. Even it’s title, ‘Clann’, speaks of building a team of togetherness and family or clan.

The opening track is Firefly, which sets the tone for the whole album, starting with a very upbeat synthesiser line and with the surging vocals of Jess Holland, who has a very distinct and clear voice which, when blended with the rest of the band, sounds extremely fine and very strong. Above all of this lies the splendid violin of Jenny Newman which is the icing on this exceptional cake. Andy Glass’ guitar lines weave magic everywhere, bringing the music together tightly. Andy is a fine player who is extremely melodic in style. There’s no wonder why he won this year’s Prog Magazine award so convincingly! Life, again, has a jaunty melody that accompanies the music, the song having both a looseness and a sparseness to it that works in a  most attractive manner. There’s a lot happening throughout its six plus minutes duration as it builds in its intensity with Andy’s liquid guitar lines providing a great sonic tapestry of textures and sound. Plunk is a very funky number with a strong rhythmic drive and fine organ sounds. It is played in an unusual time signature which adds to its effectiveness, as does the brass embellishments that are employed during the song. This track is definitely a punchier little number that would work well live, I’m sure. An excellent guitar solo from Andy further enlivens things significantly, his playing whilst flashy and furious, is just right for the track as he doesn’t overplay it but it all works for the maximum impact of the song.

Frippa has more than an element of 1980’s King Crimson to it, especially in the main guitar riff. This track also benefits from the versatile and athletic violin of Jenny Newman who dances all over it, blending in well with both the angular guitar work by Andy and excellent keyboard work of Steven McDaniel. The precise drums of Peter Helmsley and the subtle yet strong bass lines from Robin Phillips are mightily impressive and when this dynamic rhythm section combines with the sweet, clear vocals of Jess Holland and backing vocalists of Ebony Buckle and Dyane Crutcher, you are a totally compelling and captivating close. The epic Twin Peaks has nothing to do with the David Lynch series of the same name, rather this is a sprawling track that works on every level with its gradual building and brooding intensity and sweet violin lines. It is a journey that keeps you enthralled throughout its near fourteen minute duration. There is not a moment wasted or surplus to it, it really works as an extended showcase for all that is good about the fine band and this great album. The bonus track Earthsong is a revisitation of a song that appeared on the first Solstice album ‘Silent Dance’ from 1984, here it is given a 2024 treatment by the current incarnation of the band. It opens with ringing guitar tones from Andy and some subtle bass lines from Robin, as I’ve never heard the debut version I can’t comment on this reworking except to say that it fits in well with the rest of the album and a delicate yet dynamic vocal from Jess works well and brings the album to a stately finale.

To be honest, what I like about this album is that it makes you happy, it’s upbeat and uplifting and, in a time where all we read and hear is downbeat, it’s great to have something that lifts you up, for a while at least! This album does that across its six tracks. Remember when music was a source of joy for you? Well, this music returns that feeling to you and so it is highly recommended from here.

This is a great album from a band who have weathered many storms and difficult times and seasons to re-emerge stronger, bolder and with much to offer in today’s world. I have no hesitation in commending this most wonderful release from Solstice.

Released 4th April, 2025.

Order the album here:

https://essentials.progrock.com/product/solstice-clann

Coloured vinyl here:

https://fairsound.com/product/solstice-clann-rusty-red

Black vinyl here:

https://fairsound.com/product/solstice-clann-black

The Gift To Release ‘Sweet Bird Of Youth’ On 14/4/25, New Album, ‘Seven Seasons’ Out Late Summer 2025.

The Gift was all set to release their fifth album, the conceptual ‘Seven Seasons’, by early autumn last year. But life (as John Lennon so aptly put it) ‘is what happens when we’re busy making other plans’! Stef Dickers (bassist of ten years’ standing) was the last remaining original member aside from Mike Morton. He was reluctant to leave the lineup, but was forced to for personal reasons. At the same time, Gabriele Baldocci (the band’s long-serving and hugely talented keyboard player) simply found balancing his jobs as piano professor in three music schools with playing in a band too much to manage, so he bowed out with both regret and good grace.

The core team of Mike Morton (vocals), Cris Tortoioli (guitar/production) and Chris Taylor (drums) went in search of fresh talent to be reborn as the quintet they really wanted to be.

The next 5 months were spent searching for replacements. After multiple auditions and a few false starts, The Gift finally found a solution within ex-BEM label mates The Far Meadow. Mainstays of the outfit, Eliot Minn (keyboards) and Keith Buckman (bass) agreed to join. It is a very sweet experience to combine forces with musicians whom they both like and have full respect for. Now, regrouped and revitalised, The Gift is in the final stages of tracking, mixing and mastering for their imminent realise, the story of a life. It is due to finally emerge in late summer of this year.

On Monday 14th April, the single Sweet Bird Of Youth will be released as a taster for what’s to come.

You can order the track here:

https://thegiftuk.bandcamp.com/track/sweet-bird-of-youth

SWALLOW THE SUN – STREAM AND WATCH THEIR NEW LIVE OFFERING ‘INNOCENCE WAS LONG FORGOTTEN (LIVE AT HELLSINKI METAL FESTIVAL 2024)’

“SHINING OVER EUROPE” TOUR STARTS NOW

TICKETS ON SALE NOW

Finnish doom metal icons SWALLOW THE SUN are dropping their digital-only SHINING DARK DELUXE today, along with a new live release, “Innocence Was Long Forgotten (Live At Hellsinki Metal Festival 2024)”. This exclusive edition offers fans an immersive, atmospheric experience, featuring fresh renditions of selected studio tracks that highlight the band’s signature somber tones and raw live intensity.

STREAM THE SINGLE “INNOCENCE WAS LONG FORGOTTEN (LIVE AT HELLSINKI METAL FESTIVAL 2024)” Here:

https://swallowthesun.lnk.to/ShiningDeluxeEdition

Watch the visualiser here:

SWALLOW THE SUN Shining Over Europe – After dominating North America, the band is preparing for a massive European tour with Before The Dawn and Stam1na. The tour kicks off this next Monday in Antwerp, Belgium on April 14th and will make its way through major cities, concluding in Hamburg, Germany on May 6th.

GRAB YOUR TICKETS NOW! → http://swallowthesun.net/tour

VIP UPGRADES AVAILABLE! → https://www.swallowthesun.shop/

Swallow The Sun – Shining Over Europe 2025

14.4.2025 Belgium, Antwerp – Zappa

15.4.2025 Germany, Koln – Gebaude 9

16.4.2025 Germany, Berlin – Cassiopeia

17.4.2025 Poland, Poznan – 2PROGI

18.4.2025 Czechia, Prague – Futurum

19.4.2025 Slovakia, Bratislava – Randal

20.4.2025 Hungary, Budapest – Barba Negra

22.4.2025 Austria, Vienna – B72

23.4.2025 Germany, Munich – Backstage Halle

24.4.2025 Switzerland, Aarau – Kiff

25.4.2025 Italy, Milan – Legend

26.4.2025 France, Marseille – Le Molotov

27.4.2025 Spain, Barcelona – Razzmatazz 2

29.4.2025 Spain, Madrid – Copernico

30.4.2025 France, Toulouse – Le Rex

01.5.2025 France, Nantes – Le Ferrailleur

02.5.2025 France, Paris – Backstage Btm

04.5.2025 Netherlands, Tilburg – 013 Next

05.5.2025 Netherlands, Amsterdam – Melkweg

06.5.2025 Germany, Hamburg – Logo

12.12.2025 UK, Belfast – Limelight

13.12.2025 Ireland, Dublin – Opium

14.12.2025 UK, Glasgow – Cathouse

16.12.2025 UK, Manchester – Rebellion

17.12.2025 UK, Bristol – Thekla

18.12.2025 UK, London, 02 Academy Islington

19.12.2025 UK, Wolverhampton – KK’s Steel Mill

20.12.2025 UK, Nottingham – Rescue Rooms

Order SHINING and SHINING DARK DELUXE:

https://swallowthesun.lnk.to/ShiningDeluxeEdition

Shining Dark Deluxe – Tracklisting:

1. Innocence Was Long Forgotten

2. What I Have Become

3. MelancHoly

4. Under The Moon & Sun

5. Kold

6. November Dust

7. Velvet Chains

8. Tonight Pain Believes

9. Charcoal Sky

10. Shining

11. Innocence Was Long Forgotten (Live at Hellsinki Metal Festival 2024)

12. What I Have Become (Live at Hellsinki Metal Festival 2024)

13. Innocence Was Long Forgotten (Innocent Edit)

14. MelancHoly (Holy Edit)

More than two decades of despair, beauty, and heartache have not only shaped but fueled Finnish melancholy torchbearers, the chart-topping and Finnish Grammy winner Swallow The Sun. Formed in Jyväskylä in 2000, the quintet has enjoyed numerous fan-lauded music videos (10+ million YouTube views) and streaming dominance (50+ million Spotify plays), while also embarking on a four-continent, 900-show run over the course of their 25-year career. Their new music, however, is the group’s first step on the new path to the unknown.

SWALLOW THE SUN line-up:

Juha Raivio – Guitar, Keys 

Juho Räihä – Guitar

Mikko Kotamäki – Vocals

Matti Honkonen – Bass

Juuso Raatikainen – Drums

Review – Nova Cascade – Box Man – by John Wenlock-Smith

This, sadly, will be the final album for Nova Cascade, the group that came to be from conversations arising out of an internet chat room back in 2010. It became a series of collaborations which resulted in the making of five excellent albums, including this  latest and final instalment, ‘Box Man’. The new album sees originator and prime mover Dave Hillborne exercise his penchant for a more ambient and introspective version of progressive music. The origins of ‘Box Man’ date back some twenty-nine years to an idea that Dave had that he has now managed to fully realise.

The album consists of seven tracks, one of which, The Choice is of an epic length of twenty-eight minutes. This Extended length gives ample time for its themes to surface and connect with the listener. The music is very ambient and would appeal to folks who enjoy the gently evolving music of bands like Tangerine Dream or Camel. The song opens with a stirring violin line from Nina Chikviladze, who has stepped in to replace the much missed Eric Bouilette. The violin part captures the age, essence and spirit of Eric in a most gentle and respectful manner. The track is in 8 sections that combine to make a singular piece of music. It impressively strong, Dave and his fellow contributors, Colin Powell (guitars) and Dave Flick (bass) have crafted a lush expansive and warm soundscape with Nina’s violin adding significantly to the recurring melody lines to make for a very impressive opening track to the album. A soaring guitar solo from Colin Powell oozes effortlessly over the song before the keyboards return and things move on in a different manner with sequenced sounds utilised to see a semblance of pace and urgency introduced. The guitar then returns, playing an almost eastern sounding guitar line that fits well with Dave’s keyboards. There is another shift in pace to a more upbeat segment before a quieter more ambient feel returns. It is all very ambient with lots of space in the sound making for a real masterclass in musical composition and sound scales and this track has them all in spades.

Smoking Gun which features Dave’s vocals, which put me in mind of amore hesitant Feargal Sharkey, over which we hear a strident guitar line. The song also has a recurring keyboard motif which is very memorable indeed. The melodic sounds of If You Don’t Succeed benefit from a prominent bass line and part. This is an instrumental of different moods and tones with some further splendid and very tasteful guitar lines and fills, all underpinned by the excellent bass of Dave Fick. The use of whistling also graces this track and makes for a great, atmospheric piece of music.The next track is Sentry which has sound effects of war and battles and has suitably sombre lyrics as a war survivor recalls the events that still traumatise him each night. He is thankful to be alive but has to live with the dreadful memories of those evil days, it is a truly engrossing piece of music.

As It Was & Is is instrumental in nature but, his time, the violin carries the melody as Dave’s keyboard play an excellent piano line. The whole band then join in and make a great noise together before the piano melody returns, this time with fluttering synths before a fine, surging guitar line is introduced, to which bass and drums are also added. A really powerful statement. Box Man, the title track, has prominent organ parts and a rippling piano line along with a bubbling bass and more great vocals from Dave. The song is a comment on someone who has fallen on hard times and to whom life has not been kind, so much that he finds himself on the streets. The album closes with The End Of The Line, another instrumental and quite a sprightly one too, with more great bass work and good guitar. The keyboards are wonderful evocative and ever changing in tone and sound. It’s a great way to close the album.

If ‘Box Man’ does turn out to be the final album from Nova Cascade then they have most certainly gone out on a remarkably high note with such a strong and rewarding release.

Released 21st April, 2025.

Order from bandcamp here:

https://novacascade.bandcamp.com/album/box-man-2

Review – Oak – The Third Sleep

With their highly anticipated fourth album, ‘The Third Sleep’, Norwegian progressive rock band OAK delivers a striking exploration of societal complacency and the struggle of the individual. The album contrasts light and darkness, both thematically and musically, seamlessly blending folk-inspired acoustic passages with the raw intensity of progressive metal, evoking echoes of Opeth and beyond.
 
On the 25th of April, OAK follows up their highly acclaimed ‘The Quiet Rebellion of Compromise’ with a new album, ‘The Third Sleep’.
 
About the album, the band has this to say:
 
“The Third Sleep continues the development from TQROC lyrically and further descends into the darkness of the mind errands. The form is suggestive and poetic, with room for interpretation within certain limits. The album is also more outgoing than its more introspective predecessor, with socially critical lyrics that require the listener’s attention and an ability to read between the lines.”


With a rich musical foundation that spans classical piano, electronica, progressive and hard rock, OAK has carved out a distinctive sound—both captivating and challenging in equal measure.

I’m a huge fan of OAK and their wonderfully haunting music that really gets under your skin so I was very excited when I heard that they were releasing a new album and, boy, have they not let me down!

From the opening notes of No Such Place with it’s beautifully complex musical arrangements and Simen Vallal Johannessen’s lilting vocal, I was hooked and realised that these guys have done it again. The addition of the delicate but emphatic woodwind just gives a deep meaning and gravitas to the song and there’s a fantastic flow to the music. London has a darker, harder edged opening, almost industrial in feel where Sigbjørn Reiakvam’s drums give a fine counterpoint to the elegance of the vocals. Mature and reflective, OAK have moved there sound on from the previous album and truly progressed. There’s almost a menace to the keyboards and the bass of Øystein Sootholtet just sits in the back ground directing proceedings. A hauntingly memorable piano line opens Run Into the Sun and the shimmering swathe of keyboards adds a polished sheen to this stunning track. Simen is on top form here, his vocals are just beautiful, especially on the fine chorus and we are treated to one of OAK’s best songs yet, it certainly one of my favourites from their impressive catalogue. What really impresses me on ‘The Third Sleep’ is how the band have brought the guitars more to the fore and it really adds another dimension to their already impressive music. First single Shimmer opens with a halting, moody tone and the vocals come in a bit deeper and hushed. It all gives a pensive and wistful feeling but that changes when the powerful chorus opens up and the vocals soar, driven on by the compelling rhythm section and demonstrative guitar. this track actually does shimmer with a fragile confidence that you can feel and then the plaintive woodwind comes in again to add another level of finesse.

Shapeshifter is another piece that is rather pensive and thoughtful in feel and tone but it has Simen’s rather gorgeous vocals to lift it above the norm. I just can’t get enough of his epic voice. These three musicians seem to gel perfectly have produced their own unique sound and that is no more evident than on this superb song. the guitar, drums and piano all blend together in an imposing soundscape that just grans your attention and won’t let go. The faster paced, demonstrative ethos of Borders gets you on edge immediately and I like it’s almost random, off-kilter feel. The drums lead and the vocals follow willingly, aided by a fine, skittering piano note. you feel that this piece is building up to something as the tension raise before being let loose on an uplifting and arresting chorus. It’s an elegantly emotive song that lives long in the memory after it closes. The album closes with the epic and profound Sensory Overload, a complex and thought provoking musical journey that feels like you’re in the labyrinthine mind of a tortured musical genius. You get thrown from left to right and all over on this memorable and suitably dramatic odyssey. I mean, there’s even some growling vocals thrown in and I’m not usually a fan of them but, here, they work perfectly! What a rather magnificent way to close the album.

With ‘The Third Sleep’, OAK have returned with a dramatic, exciting and rather imposing collection of songs that shows a young band full of creativity and vitality. It is their best album yet and one of the best things you will hear this year, sublime, grandiose and, to put it simply, brilliant!

Released 25th April, 2025.

Order from bandcamp here:

https://oakinoslo.bandcamp.com/album/the-third-sleep

Stream ‘Shimmer’ from this link:

https://orcd.co/oak-shimmer

Aces High: GameZone Card Game Mastery

GameZone, the Philippines’ leading card game developer, has revolutionized the way Filipinos experience their beloved traditional card games. By skillfully adapting classics like Tongits, Pusoy, and Pusoy Dos for the digital age, GameZone has created a bridge between cherished cultural traditions and modern technology. This innovative approach has not only preserved these games for future generations but has also introduced them to a wider audience, both locally and internationally.

The importance of card games in Filipino culture cannot be overstated. For generations, these games have been a source of entertainment, social bonding, and friendly competition in households across the country. Recognizing the cultural significance of these games, GameZone has taken on the challenge of digitizing them while maintaining their essence and appeal.

At the heart of GameZone’s offerings are digital versions of Tongits, a fast-paced game that has been a staple in Filipino gatherings for decades. The platform offers four distinct versions of Tongits, catering to different preferences and skill levels. Tongits Plus stays true to the traditional rules, providing an authentic experience for purists. For those seeking a twist on the classic game, Tongits Joker and Tongits Quick introduce exciting new elements that add fresh challenges and strategies. Super Tongits takes innovation a step further by fusing the card game with slot machine-style gameplay, creating a unique hybrid experience.

In the classic version of Tongits, players aim to empty their hand of cards by forming valid combinations or achieve the lowest point total when the game concludes. The digital adaptation maintains the core mechanics of drawing and discarding cards, forming “bahay” (melds) such as three-of-a-kind or straight flushes. The thrill of declaring “Tongits” to claim victory remains intact, now enhanced by digital animations and sound effects that bring the game to life on screen.

Pusoy, also known as Chinese Poker or 13-Card Poker, has received similar treatment from GameZone download. The platform offers Pusoy Plus and Pusoy Wild, both of which elevate the traditional game with enhanced features. These versions introduce “winner take all” stakes, card-swapping mechanics, and real-time multiplayer battles, adding new layers of strategy and excitement to the game.

In the original Pusoy, players arrange their 13 cards into three hands—front, middle, and back—with the goal of winning the most hands in a round. The digital adaptations maintain this core concept while introducing additional elements that cater to both seasoned players and newcomers alike. The ability to play against opponents from around the world has expanded the competitive aspect of the game, creating a global community of Pusoy enthusiasts.

GameZone’s success in adapting these classic card games has not gone unnoticed. The platform has quickly become a go-to destination for Filipino card game enthusiasts, attracting players of all ages and skill levels. The ability to play these cherished games anytime, anywhere has breathed new life into the tradition, ensuring its continuity in the digital era.

Beyond Tongits and Pusoy, GameZone has expanded its offerings to include a wide array of games that cater to diverse tastes and preferences. Lucky 9 and Sakla provide additional options for those seeking traditional Filipino card games. Lucky 9 challenges players to achieve a hand value closest to nine, blending luck with tactical decision-making. Sakla, on the other hand, merges elements of poker and rummy, requiring strategic formation of sets and runs.

For those who prefer international classics, GameZone offers popular games like Blackjack and Baccarat. These games bring the excitement of casino-style play to users’ devices, complete with realistic graphics and smooth gameplay. Texas Poker is another favorite, allowing players to showcase their bluffing skills and hand management in competitive tournaments or casual matches.

GameZone’s innovation extends to casual and visually engaging titles such as Color Game and Mines. Color Game tests players’ intuition through color sequence predictions, while Mines offers a risk-reward challenge where players navigate grids to uncover hidden rewards. These games provide quick, engaging experiences that are perfect for short gaming sessions.

For those seeking lighthearted entertainment, options like Candy Craze and Candy Rush offer vibrant graphics and easy mechanics. These games appeal to players looking for stress-free, visually appealing experiences that can be enjoyed in short bursts throughout the day.

Slot game enthusiasts are well-catered for on the GameZone platform. Through partnerships with renowned developers like JILI and Netent, GameZone casino offers immersive titles such as Fortune Ace and Super Gems. These games combine stunning visuals with the thrill of progressive jackpots, providing an authentic slot machine experience on mobile devices and computers.

In a move to recreate the atmosphere of physical casinos, GameZone online has introduced live casino experiences featuring real dealers for games like roulette and blackjack. This blend of digital convenience and authentic casino energy has proven popular among players seeking a more immersive gaming experience. The live dealer games offer real-time interaction and the excitement of playing in a genuine casino environment, all from the comfort of one’s home.

The platform’s diversity is further demonstrated by the inclusion of fishing games like Fishing Frenzy and Ocean King. These games offer a unique blend of skill and luck, challenging players to catch various fish in underwater environments. The colorful graphics and engaging gameplay mechanics have made these titles popular among players looking for something different from traditional card and casino games.

Bingo enthusiasts are not left out, as Game zone online games offers themed rounds and community-driven events. Players can compete to complete patterns and win prizes, fostering a sense of community and friendly competition. The digital bingo offerings maintain the social aspect of the game while adding convenience and accessibility.

GameZone’s success can be attributed to its ability to balance cultural heritage with global appeal. The platform has created an inclusive gaming environment through the implementation of social features, tournaments, and fair gameplay mechanics. This approach has not only attracted a wide range of players but has also fostered a sense of community among users.

As GameZone continues to evolve and expand its offerings, it solidifies its position as a leader in Southeast Asian gaming. The platform’s commitment to preserving Filipino card game traditions while embracing technological advancements has set a new standard in the industry. By providing a diverse catalog of games that cater to various preferences—from nostalgia-driven classics to cutting-edge digital experiences—GameZone slot has established itself as a comprehensive entertainment destination for players of all backgrounds.